Ricki Rendazzo is a rock star who gave up everything to pursue her dream of stardom. But when her ex-husband Pete asks her to visit Chicago and help their estranged, divorced daughter Julie through a difficult time, she's given a chance to make amends with the family she abandoned for a life of fame and fortune. Taking her shot at redemption, Ricki faces the music and tries to make up for lost time. Meryl Streep stars opposite her real-life daughter Mamie Gummer for the third time. They previously starred in Heartburn (1986) and Evening (2007) together.
Ricki Rendazzo is a veteran rockstar as part of her band Ricki And The Flash. She's adored by so many people in the world apart from the people who matter the most; her family. While on tour (as usual) she gets a call from her ex-husband Pete telling her that her daughter Julie has been dumped by her partner Max for another woman. Realising finally that her presence is needed, she drops everything and rushes to her daughter's aid - though, as it turns out, Julie is far from grateful. She and her brother have been forced to spend their most cherished memories without Ricki there, with their stepmother Maureen taking on the role as a proper mother to them. Ricki's son doesn't want her at his forthcoming wedding either, so it seems Ricki has a lot of making up to do if she wants to have a hope of re-connecting with her loved ones.
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Corman's 400 films have tapped into youth culture in ways that studios never could. This documentary traces his career with interviews and clips, but also explores his impact on the industry at large. Clearly, he's not only an important filmmaker, but he's also a genuinely nice man (at one point, Nicholson breaks down and cries while talking about him). We also get glimpses behind-the-scenes on 2010's hilarious-looking Dinoshark, proving that his filmmaking methods haven't changed much in nearly 60 years. And we discover that his favourite filmmakers include Bergman, Fellini and Truffaut, whose films he distributed in America.
Continue reading: Corman's World: Exploits Of A Hollywood Rebel Review
But something happens in Jonathan Demme's Rachel Getting Married. Hathaway plays Kym, the black sheep of an upper-middle-class Connecticut family who has left rehab in time to attend her sister Rachel's wedding. This isn't simply a case of an actress obviously playing against type, although she clearly is. Hathaway teases her studiousness out into self-centered, self-destructive prickliness; Kym is like a teacher's pet, begging to be rewarded for her self-aware (but caustic and uncomfortable) humor, and her self-serious (yet somehow pompous) parroting of Narcotics Anonymous wisdom.
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If you weren't glued to the news channels in late 2006 you might have missed the controversy: Other words started being used to describe this gentle man, words that until that point would have been thought unlikely. Words like: Anti-Semite. Racist. Plagiarist. Hatemonger. Terrorist sympathizer.
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Having recently suffered a brain aneurysm, the death of his father, and closing in on 60, the concert finds Young as a mortal vulnerable to the onslaught of time. With his friends (including his wife, backup singer Pegi) playing by his side, we get a distinct feeling that there might not be many concerts left. One of the last songs, an old favorite of Young's, Ian Tyson's "Four Strong Winds," says it all: "If the good things are all gone, then I'm bound for moving on / I'll look for you if I'm ever back this way."
Continue reading: Neil Young: Heart of Gold Review
Thus spake Adaptation. Starting out with fake (or real?) behind-the-scenes footage of Malkovich, taking detours to the dawn of life on earth and story mogul Robert McKee's screenwriting class, Darwin's lab, Orlean's book (with Chris Cooper playing the swamp rat/scientist/orchid thief himself), voice-overs, and flashbacks, Adaptation finds inventive convolutions that might make it seem more esoteric than it really is.
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We may never know the truth about Charlie. Demme fills his European vacation with endless lies fed to us by self-serving criminals. The result circles endlessly around a thin mystery that the director punches up with inspired visual tricks, though logic would have been preferred.
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Such is the lesson to be taken away from That Thing You Do!, Hanks's screenwriting and directorial debut. And just what is That Thing You Do? Well, if you don't know, you must live in a cave, and a small one at that. The title refers to the one and only hit song of "The Wonders" (get it?). It is a song that is repeated throughout this film... over and over... in full or in part, a total of 11 times. I counted.
Continue reading: That Thing You Do! Review